‘Frozen’-'Thriller’ Mashup Has Disney Characters Dancing to Michael Jackson’s Classic (VIDEO)

Just when you think you’ve seen every possible “Frozen” fan-made video out there, along comes this.

It’s a mashup of Elsa, Anna, Kristoff and Hans dancing to Michael Jackson’s “Thriller” in a clip made with the MMD (“MikuMikuDance”) freeware animation program.

Now instead of having “Let It Go” stuck in your head for the next hour or so, you can have “Thriller” lodged in there.

Good luck getting it out.
Comedy – The Huffington Post
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When Is The Right Time To Move In Together? Survey Says…

It’s the age-old question that consistently plagues couples: when is the right time to move-in together?

A lot of unknowns come into play here, which makes the decision so much more difficult. Is it too soon? Will it save me money? Will it cost me money? Will it hurt our relationship? What if he/she discovers I’m actually a hoarder of Cat Fancy?

The folks at Rent.com wanted to get to the bottom of this and asked 1,000 cohabiting renters their thoughts on how long couples should date before making the big move.

According to the survey, 37 percent said six months to a year is an appropriate amount of time, 29 percent said more than one year, and 18 percent said to wait until after marriage. You can see all the results in the infographic below.

move in infographic

But what happened once these couples made the move? Was it all butterflies and rainbows?

Once couples shacked up, 63 percent said they rarely have a night with just their friends, and 58 percents said weekends are spent staying home with their S.O.

And though 27 percent of respondents said they moved in together within less than six months of dating, only seven percent of people surveyed recommended doing that.

However, on the bright side, almost half of those surveyed said the upside to moving in was spending more time with their loved one. And 32 percent said moving in together helped them realize they had found “the one.”

What do you think? What’s the right time to say “I do… want to move in with you?”

Keep in touch! Check out HuffPost Weddings on Facebook, Twitter and Pinterest. Sign up for our newsletter here.
Weddings – The Huffington Post
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First Nighter: Harvey Fierstein’s Highly Accomplished “Casa Valentina”

When you hear that Casa Valentina, Harvey Fierstein’s new play, at Manhattan Theatre Club’s Samuel J. Friedman, takes place at a Catskills resort where men cross-dress in a completely compatible environment, you may be thinking, “Ah-hah, our beloved Harvey and men going about as women–this is bound to be a knock-your-socks-or-stockings-off spin on La Cage Aux Folles.

Turns out you’d be almost 180-degrees wrong. Yes, Fierstein fans, there are plenty of belly laughs as the two-acts unfold on Scott Pask’s lean version of a mountain getaway that’s seen better days. But the playwright has much more on his mind and up his chiffon sleeve. What he’s conjuring is a work along the lines of his reputation-making Torch Song Trilogy but far more probing, far more trenchant, far more unsettling than that earlier three-part opus.

The weekend on which he’s concentrating is the one in 1962 where Casa Valentina–actually doing business under the name Chevalier d’Eon as the action begins–is in danger of shuttering for financial reasons. So owner George (Patrick Page), known as Valentina when in drag, has invited a national activist calling himself Charlotte (Reed Birney) in his female guise to join the most loyal guests with a proposition meant to save the establishment.

Complicating George/Valentina’s worries is his recent implication in a mail fracas the local authorities have uncovered. All this is transpiring as he and heretofore understanding wife Rita (Mare Winningham) are welcoming heavy-set Albert/Bessie (Tom McGowan), older transvestite Terry (John Collum), glamorous Gloria (Nick Westrate), the sporting Judge/Amy (Larry Pine) and relatively young newcomer Jonathon/Miranda (Gabriel Ebert).

Things are progressing well and amusingly–particularly when the giddy bunch decide to give awkward Miranda a make-over–but take a turn for the deeply serious when at a formal “sorority” meeting Charlotte introduces a charter she’s put together whereby the men gathered would sign their names as proudly open transvestites. Charlotte’s conviction is that forthright citizens declaring themselves in this way will help legitimize cross-dressing as just another unthreatening expression of human sexuality.

Charlotte’s plot doesn’t go down smoothly with the others, especially when he/she insists that they all ratify a clause dissociating themselves from homosexuality. She maintains that more often than not, cross-dressers like them–straight men with an impulse–are often assumed to be gay. That damaging canard must be aired and changed, Charlotte insists.

Once the scene where the suggestion is mooted has been played–in something a bit too close to a veiled debate than some ticket buyers might find dramatically comfortable–Fierstein keeps the characters wading in troubled metaphorical waters.

Even though he starts his second act with Bessie, Gloria and Terry lip-synching to the McGuire Sisters’ “Sugartime” (and even copying some of the famed siblings’ choreography), he’s ingeniously stirred up problems for most of the participants. Certainly, revelations about the true nature of The Judge/Amy create a sticky situation for the conflicted man. And certainly, a bribery scheme Charlotte hatches gets seriously ugly.

Perhaps as disturbing as any of the twists Fierstein deviously and deliciously works into the script is the change in George and Rita’s seemingly happy marriage. That surfaces after the late and provocative arrival of Eleanor (Lisa Emery), who announces herself as the Judge’s daughter. Whether George and Rita can go on as before, whatever the future of their co-owned business, looks to be an unresolved question.

Curiously, Casa Valentina is the second production to bow in two days dealing with the slippery issue of gender-bending. (The first is Hedwig and the Angry Inch.) Fierstein deals with the much less discussed, generally sub rosa topic of primarily cross-dressing heterosexual men. Decades and probably centuries old (and fully accepted in some societies), the practice wasn’t new when the retreat called Casa Susana made the news–and caught Fierstein’s attention–as the subject of a 2005 picture book edited by Michel Hurst and Robert Swope.

Heterosexual cross-dressinng still a somewhat arcane issue, however, it’s not surprising that Fierstein who’s been championing related causes for close to 40 years takes up this one. Maybe he’s long intended to delve further into a condition with which he had so much touching gaiety in the above-mentioned La Cage Aux Folles. With this one, he gets around with unflinching concern to intolerance, blackmail and the cruelty of the divided psyche. While at it, he demonstrates his awareness of the destructive potential of compulsive behavior.

His concern is not to be sneezed it, and also prompting no sneezing is Joe Mantello’s tight and sympathetic direction of top-notch Broadway actors submerging themselves in perhaps their most challenging roles with no hint of camping to distance themselves from the men they’re portraying.

There is no first among equals here–Birney, Cullum, Ebert, McGowan, Page, Pine and Westrate all get into their wigs, frocks and make-up with consummate skill. Mare Winningham, who seems to have made New York theater her base nowadays, is simultaneously strong and vulnerable. Emery attacks her one scene with her usual forthright flair.

And about those female accouterments the actors gussy themselves up in before their vanity tables: Rita Ryack has collected all manner of outfits that men in the 1960s, who are stuck in 1950s fashions, would affect in order to pass for bridge-playing housewives. Jason P. Hayes concocted the hair-all-a-curl wigs that get plenty of exposure during the two acts.

One avenue Fierstein doesn’t go down is explaining why these men–standing in for a possibly not inconsiderate population–do what they do. Yes, he suggests that for some of them it’s a compulsion but without searching for the source of the compulsion. A couple of them appear to be pursuing their alter egos merely for the fun of it, but why is it simply fun for them? Westrate’s Gloria in her crinolines and flaming red coiffeur comes across as the only one of the group who has no inner demons flailing to be freed. Again, why?

It’s possible to leave Casa Valentina believing that drag for straight men–as is drag for homosexual men and women in Hedwig and the Angry Inch–is an ultimately imprisoning mental state. Yet, I have a psychotherapist acquaintance who maintains that some men who dress as women do so because they’re so smitten with women, so enamored of their wives in many instances, that they want to find out what it feels like to be women. They’re turned on by it–as Albert/Bessie declares he is here.

Fierstein might have made a point of getting around to that and to other psychological insights. That he hasn’t hardly detracts from an amazing accomplishment and one that, as the Tony season ends, will be a strong contender for the coveted prize.
Arts – The Huffington Post
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‘Denim Day’ Reminds Us (Again) That Wearing Tight Pants Doesn’t Give Rapists An Excuse To Attack

Though some court rulings may imply otherwise, wearing tight clothing does not give rapists permission to assault.

Wednesday marks “Denim Day,” the awareness event when advocates and survivors speak up for the rights of people who have been sexually abused. The event dates back to 1999 when the Italian Supreme Court overturned a rape conviction because the victim wore fitted jeans at the time of the assault. The justices ruled that the victim must have helped her attacker remove her pants, thereby giving her consent.

The following day, female politicians came to work wearing jeans to stand in solidarity with the victim. Peace Over Violence then turned that powerful statement into Denim Day — the day advocates wear jeans and attend rallies to protest against misguided attitudes about sexual violence.

Supporters are getting involved in a number of ways.

University of California, Berkeley students, for example, are distributing information about the campaign and giving people a chance to express messages about sexual assault on T-shirts and jeans. The Guess Foundation committed to making a $ 100,000 donation to Peace Over Violence, and has more than 400 stores participating in Denim Day efforts. Assault survivors are also using the awareness day as an opportunity to speak out. Los Angeles Mayor Eric Garcetti and Los Angeles Police Chief Charlie Beck unified with the cause by wearing blue jeans to a Denim Day event in L.A., CBS Los Angeles reported.

Over the years, some progress has been made with regard to how survivors of sexual assault are treated.

In 2008, the Italian court overturned its original ruling and stated that “jeans cannot be compared to any type of chastity belt,” the Telegraph reported at the time.

Still, advocates say that rape survivors have to bear far too much stigma.

According to the Rape Abuse & Incest National Network, 60 percent of sexual assault cases in the U.S. are not reported to the police.

Denim Day supporters hope that their efforts will empower abuse victims, break taboos and help debunk misconceptions.

The way our society thinks about rape and receives survivors is not only tragic, it’s dangerous,” Mariska Hargitay, actress and advocate, wrote on Denim Day two years ago. “Fearing that they won’t be believed, survivors are less likely to report their rapes, which means rapists stay out of jail, which means they are free to rape again.”

Feeling inspired? Find out how you can get involved with Denim Day.

Need help? In the U.S., visit the National Sexual Assault Online Hotline operated by RAINN. For more resources, visit the National Sexual Violence Resource Center’s website.
Style – The Huffington Post
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Inside Bryan Singer’s Wild Hollywood World

Known for surrounding himself with beautiful young men, X-Men director Bryan Singer has found his private life under intense scrutiny due to a lawsuit alleging sex abuse.
Entertainment – The Huffington Post
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‘Veep’ Season 3 Episode 3 Recap: Selina Dominates The Diss Rankings

Selina Meyer won HuffPost TV’s “Veep” diss rankings by a landslide this week. In the April 20 episode, “Alicia,” the veep prepared to give the most important speech of her life, announcing her candidacy for president. She also got nailed with an “SNL” spoof, more horrific PR from Mike and a battle over universal child care.

“Alicia” may have been the HBO show’s most self-aware episode yet. Viewers got to watch a cast of grade A comedians bash “comedians” and hear Julia Louis-Dreyfus call “SNL,” a show she once starred on, “juvenile.” Here are the best one-liners, zingers and lingering disses from “Veep” Season 3 Episode 3, “Alicia.”

Selina Meyer

  • Dan, this rewrite kicks balls and ass.
  • So what, I had a horse as a kid? Who didn’t? Have a pet is what I meant.
  • If someone takes a shit in your car, what are you going to do? Drop your trou and take a crap through the sunroof? I don’t think so buddy.
  • You start picking this thing apart and what am I left as? Some sort of optimistic warmonger with a soft spot for educated gays?
  • You want me to be just some sort of party puppet? You can stick your hand up my ass and work my mouth?
  • What in the wide world of fuck do you think you’re wearing?
  • I’m supposed to let a bunch of dead-eyed white guys shit all over absolutely everything I stand for?
  • I decided I’m going to let them dictate me because it’s my decision.

Kent Davison

  • Children are of no value. Forget child care.
  • If you don’t like the reality, go live in Oregon and make quilts with my mother. She could use the help.

Sue Wilson

  • Ma’am it’s Amy. It sounds like she’s uncomfortable, like she’s with a member of the public.
  • This is your beauty pageant for the nearly dead.

Ben Caffrey

  • This “Saturday Night Live” shitstorm, it just hit nine on the sphincter scale.

Mike McLintock

  • I’m trying to help you, you stupid cow!

Catherine Meyer

  • I have had a hard, lonely, miserable life and the only thing that is going to make it worthwhile is if I become the daughter of the next president of the United States. So, you need to go out there and stop behaving like a little bitch.

“Veep” airs Sundays at 10:30 p.m. EDT on HBO.
Comedy – The Huffington Post
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Indie Brides Are Bound To Say Yes To These Non-Traditional Dresses

By Kellee Khalil for Lover.ly

Temperatures are rising and summer wedding season is nearly upon us! Summer lends itself to relaxed and casual weddings, making it the perfect time to try something non-traditional. If you’re saying “I do” at an offbeat celebration this summer, you may want to say yes to one of these stylish bridal frocks. Browse below for unexpected cuts, colors, and styles worthy of a hot-weather fete.

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Weddings – The Huffington Post
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Stage Door: Bullets Over Broadway, Violet, Lady Day at Emerson’s Bar & Grill

2014-04-20-result.jpg

Is art worth killing for?

Woody Allen’s new Broadway musical Bullets Over Broadway, an entertaining romp, thinks so. Based on his 1994 movie, with zippy direction by Susan Stroman, the musical comedy is fun. It’s not quite the over-the-top craziness, with a dash of smarts, that made the film so memorable, but it’s close.

Now at the St James, Bullets Over Broadway is splashy, rather than electric, thanks to sensational costumes and sets — save the one of Greenwich Village, which is oddly misconceived. But as traditional musicals go, it mostly works — with a proviso. Set in 1929, it’s a musical without an original score. Glen Kelly, who adapted the period music, including great numbers like “Running Wild” and “Tiger Rag,” played perfectly by the Atta-Girls, terrific singers and dancers who capture the Roaring Twenties.

The story is strictly screwball: David (Zach Branff), an earnest playwright, finally gets a shot on Broadway. The hitch is that his debut will be financed by a single backer, gangster Nick Valenti (Vincent Pastore), who brings a caveat of his own. Make his dopey girlfriend Olive (Helene Yorke) a star. That’s a tall order, especially since the show has enlisted legendary diva Helen Sinclair (Marin Mazzie) has ideas of her own.

Throw in the critically artistic eye of Cheech (Nick Cordero), the heavy assigned to keep an eye on Olive, and Bullets Over Broadway shifts into high gear. Everyone in the cast, including Betsy Wolfe as David’s girlfriend and Yorke as the goofy gun moll turned wannabe actress, hit their mark. Mazzie is convincing in her role, while Branff, making his Broadway debut, could use a few more sparks. Still, the crew’s general silliness clicks.

Cordero’s Cheech is a high point; it’s hard not to enjoy the kooky world that Stroman/Allen have created. Woody Allen, who wrote the book, economized on some of the film’s strengths, but the production still boasts good, old-fashioned showmanship.

By contrast, Violet, now at the American Airlines Theater, is a more intimate musical. The soulful country-style band sits backstage; the actors are downstage. Brian Crawley’s book, adapted from Doris Betts’ short story The Ugliest Pilgrim, is a sad tale of an adult’s quest for beauty as redemption.

Tony winner Sutton Foster stars as Violet, a young Southerner disfigured at 13. Early on, she refers to the “axe blade” that “split my face in two.” Desperate to be cured, she embarks on a bus trip from North Carolina to Oklahoma. There, she hopes to be transformed by a popular televangelist (Ben Davis), who makes outrageous healing claims.

The trip, which begins in a Nashville bus station in 1964, is meant as a journey of discovery. Stopping in Memphis, she meets two soldiers, a cocky white man named Monty (Colin Donnell) and a more sensitive black man called Flick (a moving Joshua Henry), who knows what it’s like to be judged by appearance. The trio bond, but the catch, and it’s a big one, is Violet doesn’t get her revelation.

Flick provides the reveal — that love is the only salvation — weakening the dramatic structure. Despite a genuine poignancy — Violet’s back story is told in scenes with her father (Alexander Gemignani) and a younger version of herself (a terrific Emerson Steele) — the play has moments of disconnect. Yet the raw humanity, especially in the segregated South, is touching.

The performances are strong, and Sutton Foster skillfully tackles both musical and dramatic moments. But even with Jeanine Tesori’s tender score, more exposition would add greater coherence.

Happily, Lady Day at Emerson’s Bar & Grill, a memoir turned musical at Circle in the Square, may not be more hopeful, but it strikes the right chord. Set in a Philadelphia club in 1959, a few short months before the great Billie Holiday died, it stars Audra McDonald. She brilliantly channels the legendary jazz singer — her inflections, charisma and misery. McDonald captures Holiday at the end of her life: broken but still capable of moving an audience. 2014-04-20-HuffPoLadyDaycopy.jpg

Lanie Robertson’s play is thin, but she pays respect to both the pathos and the grit of this jazz phenomenon. Stumbling and drinking, Holiday relates the traumatizing moments of her life, including being raped at 10, how her first and “worst love,” Sonny Monroe, got her hooked on heroin, and her relationship with saxophonist Lester Young, who dubbed her Lady Day, and her mother, “The Dutchess.” She recounts teaming with Artie Shaw; among the first black women to work with a white orchestra.

Numbers such as “God Bless the Child,” “What a Little Moonlight Can Do,” “Strange Fruit” and “T’ain’t Nobody’s Business If I Do” showcase Holiday’s essence — a proud artist ill-treated by abusive men and a racist America.

Smoothly directed by Lonny Price, this is a solo show, though McDonald is backed by an excellent jazz trio — Sheldon Becton on piano, George Farmer on bass and Clayton Craddock on drums. Billie Holiday’s life was tragic; yet as McDonald hypnotically illustrates, she has left us her singular artistry.

Bullets Over Broadway photo: Paul Kolnik; Lady Day photo: Evgenia Eliseeva
Arts – The Huffington Post
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Terry Richardson Accused Of Offering Photo Shoot For Sex

WARNING: This post contains graphic language and imagery.

Terry Richardson is yet again being accused of sexual harassment.

Model Emma Appleton tweeted a picture on Sunday of what appeared to be a text message from Richardson offering a Vogue photo shoot “if i can fuck you.”

She later deleted the tweet, but told BuzzFeed that she stands by her claim. Appleton said that the message came from Terry Richardson’s Facebook account.

More of Appleton’s tweets can be found here.

Richardson’s reps denied the incident, telling BuzzFeed that, “This is obviously a fake. Terry did not send this text.”

A spokesperson for Vogue told BuzzFeed that “we have no plans to work with him in the future.”

Richardson has been accused of sexual assault and harassment a multitude of times.

Former model Charlotte Waters told Vocativ that he groped her and exposed himself during a photoshoot. Model Jamie Peck claimed that he demanded that she touch his penis. Jezebel assembled a laundry list of accusations against Richardson here.

Richardson has repeatedly denied these claims.
Style – The Huffington Post
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‘Mad Men’ Review: All In ‘A Day’s Work’ For Don

Do not read on unless you have seen “A Day’s Work,” Sunday’s Season 7 episode of “Mad Men.”

Some wounds are so deep that they never go away, and you have to re-learn to how to accept them and maneuver around them again and again.

The look on Don’s face in the last scene was the highlight of “A Day’s Work,” which otherwise had some issues that I’ll get to in a minute. That short phrase that Sally uttered as she exited the car — “I love you” — transformed Don completely. All his defenses and masks were gone; he was just struck dumb. Floored.

Don Draper (and/or Dick Whitman) continually waits for the other shoe to drop. He’s always waiting for people to find out who and what he really is and then drop him, dismiss him, hate him. We’ve seen the cycle again and again: People find out his real identity or facts from his true past and he waits for that relationship to crumble. Personally and professionally, he puts up a confident front because he’s so very sure no one would ever love him or need him just because of who he really is. (That pretending will probably never end for him — witness how he dressed up for Dawn in order to lie to her about how he spends his days.)

So for Sally, of all people, to casually say she loved him — well, that was the last thing he expected. Few people have more of a reason to hate him, after all the crap Don’s pulled over the years. Sally finding him with his married mistress was just the last straw. The Don-Sally story line — the only “date” on this rather grim Valentine’s Day — wasn’t about the affirmation of a father-daughter bond, it was about Don paying his respects to his dead relationship with his daughter. He thought the one bond that meant the most to him was unfixable. He was wrong.

And please understand, I don’t think Don assumes people will reject him because he was the dirt-poor son of a prostitute or a guy who stole another man’s identity during a war. Don waits for people to reject him because he feels he is innately disgusting, contemptible, unlovable. He feels that something is sick and wrong in his soul, and he simply waits for others to find that part of him and then kick him to the curb. Sometimes he speeds the destruction along, because waiting for the inevitable rejection can be torturous.

When confronted with the fact that Sally’s willing to let him back in to her life and still loves him, he has to process the idea that maybe he’s not an intrinsically disgusting, unlovable human being. The seven-season arc of “Mad Men” may well be the story of Don’s journey from thinking he’s fundamentally incapable of and unworthy of love to his realization that he’s just another screwup, just another flawed mortal like the rest of us, just an average schmuck who makes mistakes and tries to fix them. He’s not necessarily exceptional in the height of his attainments or the depth of his mistakes. He’s just a guy who has at least one person in his life who loves him despite — and quite possibly because — of who he is.

The look on Don’s face is realization that he may be worthy of Sally’s love. But Don has to keep re-learning that it’s possible for him to be loved despite his lies, despite his past, despite his self-hatred. But I don’t expect this to be the last time he tells lies or drives his life into a ditch. But maybe he’s getting incrementally better at digging himself out of various holes.

Of course, however she feels about her dad, Sally is on to his bullsh*t like a laser beam. She knows he’s lying to himself and Megan about the state of their marriage. She knows the bicoastal thing will never work. She doesn’t quite see how he can fix the work situation. (Sidebar: Given that Don has a non-compete clause in his contract, how can that situation be repaired? If the firm doesn’t bring Don back, what can he do? Some have suggested he and Peggy start their own firm, but I don’t know if that would work, given the non-compete. Still, as Pete noted, breaking away to create an upstart is a favored strategy among Don’s cohorts.)

Bravado-filled lunches and afternoons in front of the TV aside, Don isn’t quite sure how to fix his life or move forward. And it’s a sign of progress that he doesn’t try to spin Sally or make things sound better than they were. The show might move at a glacial pace in some ways — it’s not unusual to see Don and other characters go around in circles over the course of multiple seasons — but it’s a sign of progress that Don told Sally that his actions and deceptions made him feel “ashamed.” The Don of Season 1 never would have admitted that to anyone — perhaps not even himself.

If Don’s progressed a bit, Peggy appears to have regressed, and not in ways that make a whole lot of sense to me. A lot of the contrived story line about the roses just did not work for me, and to depict Peggy as nearly unhinged over the floral misunderstanding left a bad taste in my mouth. Not great, Bob.

First of all, I know in the “Mad Men” timeline Peggy’s affair with Ted ended about three months ago, but for viewers, all of that occurred nearly a year ago. However deep the bond was between them during their relatively brief affair, to viewers, that relationship is kind of old news, and it’s just poor calibration on the part of the show to depict Peggy as still being this upset at this juncture. Yes, he promised to leave his wife for her, and yes, she was deeply hurt, but there needed to be more setup for this kind of behavior to seem plausible.

Peggy is someone who generally handles the tough things that are thrown at her in a considered way, and for her to flip out on Shirley in front of a big portion of the office just didn’t feel right. Her faintly hysterical messages for Ted, her quivering sulks, her rage at Dawn — they were all just too much. None of it quite tracked with the Peggy I’ve known for seven seasons, and though I can think of logical reasons for Shirley to avoid confronting Peggy with the truth, it was a little annoying that she never just told her where the flowers came from. It was one of those aggravating situations that would not have existed had one character uttered one sentence to another (what is this, “Lost”?).

Then there’s the whiff of something unpleasant around the fact that the more successful Peggy is, the more “Mad Men” appears to be determined to depict her personal life as a disaster. It’s almost as if the show feels it has to show her as successful but lovelorn, but that’s something of a cliche. For the longest time on TV, the most high-powered professional women were depicted as unhappy in love or incapable of sustaining relationships, because, Lord knows, it’s not possible for a woman to be successful in both arenas. Yeesh.

Yes, professional women in the ’60s faced many different kinds of roadblocks, but Peggy is a dynamic, thoughtful, attractive and intelligent woman. I find it hard to believe her entire social life would be sad, disappointing or constricted, but it always is on this show. The circles that Peggy is going in on the love-life front are starting to feel quite stale.

That said, it’s understandable that Dawn and Shirley would tread lightly around their bosses. There’s no doubt that they are under extra scrutiny and extra pressure due to their race (“Keep pretending. That’s your job.”). Bert Cooper is at least partially up front about his racism, but it percolates through almost every other interaction as well. It was certainly part of the reason the detestable Lou demanded a new secretary. No wonder Joan, dressed in appropriate fire-engine red, exploded at Peggy and Jim Cutler; having to put up with all the staffing whims of the senior staff as well as their prejudices and immaturity is just too much for one person. As Cutler pointed out, it’s more than time that the firm split her job into two positions.

Jim is one of the few people who seems to be acting fairly reasonably a good amount of the time, but at SC&P these days, ill will, sniping and pettiness is the order of the day. Truth be told, I found this episode a bit of chore at times, given that it could have been titled, “Sour People Being Mean to Each Other.” Secrets were rustled up, bonds were broken and various pairings didn’t quite match up; it was very “Mad Men”-esque but much of it felt almost too familiar. Perhaps, like Pete, we were meant to feel a bit out of sorts and disjointed. There were so many instances of people talking past each other or not quite connecting.

Roger tried to banter with Lou, but it didn’t work because Lou’s not a bantering guy. Pete tried to commiserate with Ted, but Ted wasn’t having it. The Los Angeles and New York offices tried to hash things out on the phone, but the connection kept failing and everyone ended up irritable and sore. Lou may have symbolized that dislocated feeling with his cry of “It’s not my problem!” That is the whole problem, in a sense: The firm isn’t pulling together as a team, and the enterprise is starting to feel vaguely unsustainable.

Yet despite all the obstacles in their path, Don connected with his daughter, so perhaps there’s hope left yet in this swirling morass of neurosis.

A few bullet points:

  • This week in Lou is the Absolute Worst: “I know you can’t fire her.” I love that Dawn fired many truth bombs in Lou’s direction after he was so awful to her — and how terrific is it that she she still works at the firm? She even got a promotion. That said, I do not think Shirley is going to have much time for Lou’s patronizing nonsense.
  • Sally smoking and talking smack about Betty is the scene we didn’t know we truly needed, right?
  • I’m not quite sure why Roger caved in to Jim Cutler regarding the situation with Pete and the car dealers’ association. Perhaps given that Roger’s fairly checked out of the office these days and is pursuing various naked activities outside the office most of the time, perhaps he can’t really mount an adequate campaign for power.
  • One of the few funny moments in the episode was Ted calling out, “Goodnight, Bonnie!” during Pete and Bonnie’s late-night office tryst.
  • By inviting his daughter to do a dine-and-dash with him, Don was literally asking Sally to be his partner in crime. He was joking about skipping out on the check, but there’s no doubt that Sally has picked up on many of Don’s quietly devious ways.
  • Don’s joke about the check worked better than comparing his daughter to Betty, which was certainly not the way to go. Good for Sally that she gave as good as she got, registering a direct hit with her poignant comment about Sylvia.
  • “Hard to believe your cat has the money.” Oh snap. Bearded Stan for all the win.
  • I cannot get over my love for Sally’s embroidered coat.
  • “It looks like you have a lot of work to do.” Oh snap. Nice zinger, Sally.
  • Another funny moment: Roger repeatedly apologizing to the secretary for his risque comments in the partners’ meeting. He’s evolved enough to know that his comments aren’t acceptable, but he’ll never really change.

Entertainment – The Huffington Post
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